zwilling. reshaping the dancefloor

Emerging in 2018, zwilling. belongs to a generation of electronic artists for whom genre is less a rulebook and more a set of tools. His early productions quickly stood out for their directness: driving, melodic, and built with the dancefloor in mind, yet unafraid of crossing stylistic borders. By the time he stepped into the booth for his first club gig in 2021, it was clear that his music was shaped not only by sound design, but by an instinctive understanding of movement, energy, and collective release.

That instinct has carried him from early releases on labels such as 240KM/H and Sachsentrance to the launch of his own imprint, Galactic Harmony, in 2023. More than a label, the project reflects a wider vision that connects music, events, and community under a shared standard of quality and intention. zwilling.’s work consistently balances raw physical energy with accessibility, combining driving techno frameworks, melodic hooks, and vocal elements that invite participation rather than distance.

In the following interview, zwilling. reflects on building platforms as well as tracks, navigating the demands of an expanding career, and shaping identity in a scene defined by constant motion. He speaks about collaboration, live performance, and the emotional charge that emerges when club culture shifts from individual expression to shared experience. What unfolds is not a fixed narrative, but a portrait of an artist in momentum, refining his language while remaining open to where the journey leads next.

For zwilling., Galactic Harmony was never conceived as a functional shortcut or a branding exercise. It emerged from a shared history, a long-term collaboration, and a desire to reshape familiar sounds without nostalgia. The project reflects a need for control, continuity, and a space where quality and vision outweigh visibility metrics.

“DJ Achim Feuervogel and I founded Galactic Harmony two years ago in one of our home studios. With the edits and remixes we were releasing at the time, we wanted to revive the music we grew up with, but with a new perspective, specifically by fusing techno with the sound of the 2000s. Both of us had already been producing for over five years, discovering our own individual styles. When things got more serious and we launched GH, our goal was to set a new quality standard for releases within our scene.

We wanted to create a platform for ourselves as well as for smaller artists, giving them a real chance to put out cool music, regardless of their size or following. When it comes to picking tracks and artists, we’re all about sound quality and that unique artistic vision that really stands out.

Since both DJ Achim Feuervogel and I are producers ourselves, launching our own label was a way to push our sound further and build more reach. We’ve seen so much potential in this project right from the start and wanted to take this opportunity to shape the new generation of the electronic music scene.

Behind the momentum, zwilling. describes a structure built less on rigid discipline and more on trust, proximity, and human connection. Balance, for him, is not about optimization, but about sustaining energy through relationships and shared responsibility.

“It really is very demanding and challenging at times, some weeks are definitely busier than others. For me, my support system is everything: family, friends, my girlfriend, my manager and reliable business partners. With Galactic Harmony for example, I feel very fortunate that DJ Achim Feuervogel and I work as a unit and we always have each other’s backs.”

The label is growing continuously, and we’re so happy that some of our closest friends have now joined the team. On a day to day basis, it’s all about setting priorities, having a solid network, and simply staying the course.

Support from family and friends, along with small breaks, could be a well needed nap or dinner with my best friends, really recharges my batteries during intense phases. I also love being in the studio to produce and record new music. This is where I can really get in my zone.

Even when I am super busy and always on the go, I try my best to keep in touch with my loved ones, especially my mum and my sister. And if I’m not the one who’s calling them, they will definitely call me at some point during the day just to check in and see how I am doing. I am really thankful for that.

Above all, my biggest motivation is that I really and genuinely love what I do every single day. I never take it for granted and I am truly lucky to be living my dream.”

Rather than enforcing stylistic boundaries, Galactic Harmony operates through shared standards. Cohesion is not imposed through restriction, but through commitment to sound, production, and intent.

“For us, top-tier production and high-end sound quality are non-negotiable. While Trance, Bounce, Hardbounce, and Hardtrance are our main directions, we’re not afraid to mix things up and keep an open mind. If we stumble upon a Drum & Bass or Breakbeat track that we’re feeling, something that would absolutely crush it at one of our parties and get the crowd going, we’re more than happy to release it.”

“When it comes to our residents, we look for more than just skilled DJs. It’s essential that they’re also talented producers who release their own tracks on the label. That’s what keeps the label’s signature sound alive and evolving.”

zwilling..’s relationship with 240KM/H is not static. As the platform expanded, so did his responsibilities, skills, and sense of alignment with the brand’s broader direction. What began as an opportunity gradually turned into a defining framework for professional growth.

“Thanks to 240KM/H and formats like Face2Face, so many new doors have opened for me. It’s allowed me to grow right alongside the agency and the brand. I’ve had the chance to gain experience on stages and at events all over the world, which really helped me establish myself as a DJ and producer in the scene. Within 240, I’ve also taken over the mastering for our releases, which has been a great way to expand my professional portfolio.”

“Besides launching Galactic Harmony, joining 240 was a crucial turning point that opened up so many opportunities for me at the start of my career, and it’s important to me to keep growing with the brand and truly embody what it stands for.”

For zwilling., the strength of 240KM/H lies less in strategy and more in shared experience. Identity was not designed in advance; it emerged through collective movement, consistency, and a refusal to separate culture from community.

“Our slogan says it all: ‘For and by the culture.’ When we started, none of us were established DJs or producers; we were all at the beginning of our journeys, searching for our signature sound and our identity as artists. We grew together, and that is exactly what made 240 what it is today.”

“What I love most is that for us, and everyone involved, it truly feels like family. I think that’s something that really stands out, especially when we are together at the same events. 240 has developed its own sound with an incredible recognition value. I’d describe it as fun and happy, which can be a deliberate contrast to the dark, heavy techno sound you often hear. For me, 240 brings a sense of lightness, joy, and community to the scene. All I see are smiling faces, dancing, screaming, I am definitely doing all of that too. That’s what I see at every single event and hear in every conversation with our fans and supporters. I absolutely love that.

“And not to forget: success does not come from nowhere. The 240 team never stands still. By the time one idea is being brought to life, the next one is already in the works. Our masterminds behind the scenes literally work around the clock to make even the wildest and most ambitious visions a reality. It’s an incredible team and a lot of hard work that make all of this possible. The work ethic and motivation is definitely a big inspiration for us at Galactic Harmony as well. And what I am super proud of is that the whole 240 team and GH team really support each other.”

Rather than seeing the crossover as provocation, zwilling. frames it as expansion. Rap becomes a tool for immediacy, participation, and emotional clarity, reshaping how energy circulates inside the club.

“Rap gives the techno beat something much catchier. It allows the audience to sing or rap along, and they can really identify with the lyrics. Those tracks stick with you long after the party, throughout your daily life. What draws me to this fusion is definitely the energy. While traditional techno often relies on repetition and atmosphere, which is great of course, German rap vocals add just the right layer of immediate, raw emotion to it.”

“In a club or at our events, I love that we’re turning the classic techno atmosphere into a shared experience that connects us all. Sometimes it feels more like a concert than a DJ gig, that connection is what makes it so special and fun to me.”

Initial experimentation did not come from strategy, but curiosity. Audience response became a form of dialogue, shaping confidence rather than questioning it.

“I first started incorporating my own vocals and rap in my own productions, for example ‘Bongos on my mind,’ and the reaction was immediately super positive. For me it was just so fun to produce this kind of music, this fusion of techno with vocals and rap. I found that the bouncy techno and rap work together very well. From there, us at Galactic Harmony, together with Fronsi, started focusing on more productions that combined techno and rap. We’ve dropped some absolute bangers that clicked with the crowd immediately. It showed us that people enjoy this sound just as much as we do, which really motivated me to keep experimenting and producing even more.”

Preparation and structure sit beneath the chaos. What the audience experiences as eruption is, for zwilling., carefully timed release.

“I always prepare a fixed setlist that we go through together before the show, so everyone knows exactly when certain tracks will drop. We also use these moments to test out new Club Master versions and see how they resonate on a big system. When the live performance is part of my set, I always treat it as the absolute highlight. I usually start the first half of my set by getting the crowd going and setting the vibe. Once the energy is peaking and we’re all locked in, that’s when the guys, Fronsi and Vatoz Locoz, get up on stage and give it their all.”

“Having six rappers performing live gives the rave a whole new energy; their sheer presence and the way they hype up the crowd takes the energy to a whole new level. Seeing the entire room singing and rapping along literally sets the place on fire. That’s what we love most: that intense connection with the crowd and the shared fun. It gives us a massive boost for the rest of the set and creates an unforgettable experience for everyone involved.”

Time becomes a compositional tool. For zwilling., long-form sets allow narrative, contrast, and emotional pacing that short formats simply cannot accommodate.

“Compared to a standard club slot, an ‘All Night Long’ set allows me to take the crowd on a real musical journey. It gives me the chance to fully explore my own taste in electronic music and share that evolution with the crowd.” When I play shorter sets, I of course have to commit to a specific direction.”

“An all-nighter, however, gives me the chance to showcase all the different genres I love, from Breakbeat and Groove all the way to Frenchcore, and let them build on one another. It allows me to play with emotions, rhythms, and moods much more than usual…So much room for creativity, I love it.”

What he describes is not just a preference for longer sets, but a rejection of the reductive logic that often governs club programming. Short slots demand efficiency, recognisable energy, fast validation. An all-night-long, by contrast, restores time as a compositional element. It allows taste to unfold rather than announce itself, and replaces impact with accumulation. The journey he refers to is not metaphorical; it is structural. Genres are not stacked for contrast, but sequenced so they can bleed into one another, allowing emotion and rhythm to mutate gradually instead of switching abruptly. This is where identity stops being performative and becomes narrative.

“My preparation starts weeks in advance. I spend a lot of time digging through both my current and older libraries to find that specific vibe and those signature tracks I want to build the night around. I’m also constantly looking for new productions from artists I personally listen to, and I reach out to other artist friends to find those exclusive, unreleased gems that perfectly match the mood I’m going for. Of course, I’ll be bringing my own new productions and unreleased tracks. And to make the night truly special, I’ll have my boys with me for the live performance part…I can’t wait! ”

The weeks of digging, revisiting older material, sourcing unreleased tracks, and integrating his own productions point to a form of authorship that sits somewhere between DJing and curatorship. Nothing here suggests spontaneity as chaos. Instead, freedom emerges from deep familiarity and intent. The night is open, but not loose. Elastic, but not unfocused.

Finally, the inclusion of live collaborators reframes the all-nighter as a collective act rather than an endurance test. It breaks the idea of the DJ as a solitary operator and turns the marathon into a shared ritual. What comes through most clearly is anticipation, not nerves. He is not preparing to survive the night, but to inhabit it fully. That distinction matters, and it places this approach closer to storytelling than to programming.

For him, progress is not a choice between stability and risk. It is a constant negotiation between grounding and curiosity, between knowing where you stand and allowing yourself to move.

“I feel very much at home in my signature sound right now, and I definitely want to keep refining and evolving it. But still, over the next few years, I see myself diving even deeper into production, exploring other genres and collaborating with more vocalists and artists. I always approach my work with an open mind and love being inspired by different directions. For me, music is and always will be art, and art has no boundaries. Let’s just say, I’m excited to see where this journey takes me, and I’m looking forward to everything that’s still to come.”

Each step, from early genre-blending productions to large-scale live collaborations, feels like an extension of an internal logic rather than a reaction to trends. What emerges across this conversation is an artist deeply invested in continuity, not repetition. He builds forward by stacking experiences, relationships, and ideas, allowing them to inform one another organically.

Projects like Galactic Harmony and his role within 240KM/H reveal a broader understanding of what it means to participate in electronic music culture today. Curation, collaboration, and infrastructure are treated with the same seriousness as tracks and performances. Quality is not an aesthetic choice, but a responsibility. Community is not a talking point, but a working reality.

At the center of it all is a clear belief in shared energy. Whether through rap-infused productions, extended all-night sets, or hybrid live formats, zwilling. consistently seeks moments where the barrier between artist and audience dissolves. The club becomes less a venue and more a space of collective release, where participation matters as much as execution.

Rather than positioning himself at a destination, zwilling. appears most comfortable in motion. Refining his language while remaining open to transformation, he represents a generation of artists shaping scenes from the inside out. The path ahead is intentionally open, and that openness is precisely where his strength lies.